Writers: are there werewolves in your writing?
Yes
No
Unsure / it’s complicated
See results/ I don’t write
seen from United States
seen from Canada
seen from United States
seen from Germany

seen from TĂĽrkiye
seen from United States

seen from Singapore
seen from Germany

seen from Spain
seen from Saudi Arabia
seen from United Kingdom

seen from Malaysia

seen from Russia
seen from China
seen from United States

seen from Singapore

seen from Spain

seen from Germany

seen from Hong Kong SAR China

seen from United States
Writers: are there werewolves in your writing?
Yes
No
Unsure / it’s complicated
See results/ I don’t write

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7 Essential Elements Every Writer Must Master
What makes a great book, one that readers can’t put down and publishers want to buy? This post will teach you how to craft stories readers love.
What makes a great book? Discover 7 essential elements every writer must master, from plot and characters to pacing and endings. Learn how t
THE BASICS OF STORY PLANNING - introduction
"THE BASICS OF STORY PLANNING" is based in a screenwriting seminar by Dany Campo, A writer of cinema and advertising, analyst of scripts for movie producers and also independent producers and finally a scriptwriting teacher in various colleges and on his Youtube channel, and also by a seminar I gave in the writing Discord server “Whisper Of Words”.
This seminar will focus on the basics of story planning and the elements that conforms it.
Now, how can this help you improve your writing? Aren't these too obvious? Well, it's no secret that these things are known to most but not for everyone, and it's so easy to make a mistake in one of the essential elements that can it make your work hard to understand or less attractive to spectators in search of a juicy story. Which is why I believe it's important to master the basic knowledge to understand your work, since these elements are what your story is truly about
Thumbprint ChallengeÂ
Look back on your work, both past and present, finished and unfinished. what are five to ten narrative elements or tropes that continuously pop up in your work?
Tagged by @writeouswriter , who has alllll the insanely cool tropes I’d want to be in a story I’d readÂ
1) Winter. If the story isn’t during winter, then it’s on the cusp of winter. Maybe late fall or early spring. Probably winter though. Hot summer days? I don’t know her.
2) Always a war going on. Usually not the first one to happen either.Â
3) Prejudice. This is usually connect to the above trope.
4) Forgiveness. Also usually connected to the above trope lol
5) Found family ♥
6) Magic! Wizards, magical beings, old dark magic, magical beads, spells, curses, you’ve got it. Will it be the main focus of the story? Probably not. But it’s still neat and it’s always there.
7) Tall characters. A lot of my main oc’s are around 6 ft tall (looking at you Scarlette). We can probably exclude a lot of characters from TMOWW though lol Idk what happened there.
Tagging @alwolfesblog , @tate-lin , @etjwrites , @writinginslowmotion , @studyoftheprey , etc. etc.
It's weird how common a large smile is in horror. Jack the killer with his carved smile, smile dog, and Alastor with his motto. And before i even knew who two of these were, i had one of mine own making. There's also the fact that when made human in fanart, Bill Cipher is often shown smiling.
All of these have different meanings. Let's start with mine since i am most intimate with it. Its only facial characteristic is a permanent and sharp smile. It is that way as a sign of irony and that it thoroughly enjoyed its work. Its backstory was that it went mad after being the literal shadow of a warlord of a god and swore that itxd make it so nothing else would suffer. It's accomplishing this through murder
Next Jack since his influence is impossible to escape. Jack's smile is carved out of his flesh, and if i recall correctly he did it so that he'd never be sad. Except maybe another reason is that he realised he had lost control of everything except himself, so he inflicted temporary pain upon himself to permanently remind hinself he has control of only one thing.
Alastor's grin is next because it's rather simple. Alastor likely smiles to mask emotions, show control, and because he enjoys what he does tremendously.
Smile dog only smiles because a human's smile doesn't belong on a german shepard.
And finally Bill's fanon smile. He's probably displayed smiling because fanart is usually either fluff or angst and his smile fits both. Bill thinks he has won the game in angst and he has control, and in fluff he's enjoying himself.

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On Foreshadowing
 Read with a grain of salt and accept one's right to an opinion without vehemence. As a writer myself, let me tell you one thing that's for sure which will always stands out; the insistence that arbitrary connections between unrelated moments in a series are somehow foreshadowing, is just incorrect. Foreshadowing is the writing element that certain moments are hinted at early on to reward backtracking as well as to invite theory indulgence; not two things that share the same color scheme (and a color scheme that is practically definitive of the mediums artstyle for that matter, and used in many other prominent scenes where it was never suggested as being relevant.)
A shared color scheme may well be an example of symbolism, or even overlapping theme, but it's not foreshadowing. That's not to say foreshadowing can't be a color scheme, but it's simply far too broad to consider it related to two specific moments, and it's made even muddier when it's a scheme used with intense frequency throughout the product; that's because it's difficult to get attached to the foreshadowing early on and thus make it meaningful, as well as difficult to even confirm the actual truth of it's foreshadowing if there is any at all. It's a random association at the best of times.
Foreshadowing is generally something explicit (but not always obvious), that invites that curiosity of the audience, an unexplained phenomena or misplaced prop for example, something that isn't addressed until later on which alludes the final result, setting up the payoff. If the shared color scheme using two colors that are highly prominent throughout the series is an example of foreshadowing in this case...it's not a very good one.
Such a rant as this one should not, by any means, be considered a criticism of the product, especially one that already does foreshadowing so well as the one in question has (which is what leads me to believe that what would have been such a poor usage of foreshadowing was never the creators intention in the first place; I give them far more credit than that.) Rather it's a criticism of the audiences over-analysis and penchant for picking things apart where it's not necessary. It doesn't help the series' case to be so appraising, because more often than not, it comes off as patronizing instead; and if the theory is correct, puts the creators in a very difficult position of not knowing what they're doing; something I've already stated I don't believe and will fight to the death to uphold as having enough evidence on my own to say that the creators are already far better writers than the misplaced praise would have them established as; especially to consider those last few scenes (the very scene in question even is a stellar moment and by far one of the most satisfying to date.)
Writers: do you include speculative elements* in your work?
Yes, always!
Yes, often
Sometimes
On occasion
No, never
Other (please explain in notes)
See results
*elements of science fiction and/or fantasy
The Basics of Story Planning - Part II (Protagonists)
Previous Post - Next Post
“THE BASICS OF STORY PLANNING” is based in a screenwriting seminar by Dany Campos, A writer of cinema and advertising, analyst of scripts for movie producers and also independent producers and finally a scriptwriting teacher in various colleges and on his Youtube channel, and also by a seminar I gave in the writing Discord server “Whisper Of Words”.
"SOMEONE wants something with intensity and finds obstacles to get it."
The first part of our sentence is "Someone", the protagonist, the one who the story is about.
One of the problems that can be often found in first drafts or scripts, as Dany Campos says, from people who just began writing is that it isn't clear who the protagonist of the story is and this is a grave problem.
An important thing to say before we continue, why do we call them PROTAGONISTS instead of HEROES? This is to avoid the moral implication in the word Hero which by definition is:
A person who is admired or idealized for courage, outstanding achievements, or noble qualities.
Contrary to what we called the lead character (The Hero) in our previous post about the Three-Act Theory by Aristotles (and introduction to this series), our protagonists can be more dimensional in the sense that they just won't be fully "good" or "evil".
When people read the story, they won't just be observers, on the contrary, they'll experiment the story emotionally and involve themselves into it almost as if they were one of the protagonists or characters.
The author needs an instrument that connects the reader with the story that facilitates the spectator's way through the events and locations.
This is what the protagonist is:
The protagonist is the emotional connection the spectator has with the story.